Art Prints & Originals

The original was Painted at 18×12 inches in acrylic on oak panel, and these giclee prints, printed in archival quality pigment inks on fine woven canvas, uv protected, hand signed and numbered are the perfect representation in color and feel.

Only 10 are available, and yours will be numbered 1 through 10. These limited edition ones are hand-signed, hand-dated, hand-numbered, and hand embellished (new figures/details painted onto the giclee to make them each a unique work of art).

Limited edition of 10.

Traders harvest chips of brilliant and shimmering  rock from outwardly dull-colored standing stones in a seemingly desolate place.

Printed at 600DPI at the size of the original painting (9×12 inches) with a white border, on archival acid-free fine art paper, in archival pigment inks – spray-coated with a matte finish for added resiliency and UV protection.

Each of these only 10 prints, is hand-signed and numbered by Myke Amend. To make them even more rare, and each a unique work of art, prints will be hand-embellished (little added details painted on in acrylic paint) to set them apart as original works.

Printed on acid-free heavyweight fine art rag paper in pigment inks to best match the exact look and feel of the original – drawn in pigment inks and colored pencil on acid-free paper at 11×14 inches.

10 of these prints will be made – each hand-signed, numbered, and dated.

As incentive to buy now, each of the first 5 sold will have an added original hand-drawn element to set themselves apart from the other 9 prints. I’ll remove this text when those 5 are no longer available.

Drawn on 14×11-inch acid free art paper in archival pigment ink. One of several drawings/variations for a painting on the board. I couldn’t help but to finish it, filling it in with whorls, swirls, hatching and other textures.

Printed at 12×15on fine art rag paper.

Prints are printed in fine archival pigment inks and on quality acid-free specialty paper to make the color, detail, and crispness of these images superb and perfect.

On the move: An army of airships and foot soldiers and something more, swimming in the aether.

Every last bit of this is incredibly detailed, with a maddening amount of coverage of painted glyphs as textures on leather and metal.

You can see how incredibly detailed this piece is Here.

I am only offering 10 of these as giclees on paper – all will be hand signed, dated, and numbered. Posters and photographic prints, will be available on our RedBubble account – puzzles, coasters, magnets, and the like will be on my deviantart account at some point.

Watermark and web address are not present on the actual prints, of course.

Prints are printed in fine archival pigment inks and on quality acid-free specialty canvas to make the color, detail, and crispness of these images superb and perfect. They are also coated with a UV-protective coating for added long-lasting archival quality.

I am only offering 11 of these as giclees on canvas (10 in the limited edition, 1-super-size one to be repainted and offered at an art showing) – all will be hand signed and numbered.

Watermark and web address are not present on the actual prints, of course.

The original was Painted at 12×24 inches in acrylic on tempered hardboard backed with birch, and these giclee prints, printed in archival quality pigment inks on fine woven canvas, uv protected, hand signed and numbered are the perfect representation in color and feel.

Only 10 giclees on canvas are available, and yours will be numbered 1 through 10. These limited edition ones are hand-signed, hand-dated, and hand embellished (new figures/details painted onto the giclee to make them each a unique work of art).

Painted at 12×24 inches in acrylic on tempered hardboard backed with birch.

An 1800s deep sea explorer meets with the Ocean’s Emperor.

Part of the Airships and Tentacles series, which is coming to a close this year.

Printed on highest quality acid-free fine art paper in archival pigment inks for an archival rating of nearly 200 years, hand-signed, dated, and numbered in india ink – hand-embellished with acrylic paint, gold leaf, and/or silver ink to make each of these prints a one of a kind.

Printed image area is 14×14 inches, printed size with white border is 18×18.

From the original acrylic on birch panel, painted mainly in shades of deep blue with touches of orange.

This is from one of my larger Micro Paintings (a large painting packed into a compact space through really dense and tiny detail).

The size of the original is 8×10 inches, these are printed on archival fine art paper at 9×12 with a one inch border (total size 11×14 inches), and hand-signed and numbered (1 through 20)

Acrylic on birch panel mainly in shades of deep blue with touches of orange.

This is one of my larger Micro Paintings (a large painting packed into a compact space through really dense and tiny detail). The size is 8×10 inches

Custom framed with custom painted frame painted by me.

This is the second painting in the strange-fiction steampunk art series “Airships and Tentacles” wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle.

The image was commissioned for Josh Pfeiffer of Vernian Process, and it includes the HMS Gadreel above an icy sea investigating a strange and perhaps long-forgotten and possibly alien craft. Ghostly figures twist and turn within the mists, clouds, icebergs, and waves.

These 50 prints are printed in archival pigment inks on high-quality heavyweight archival matte paper (230 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

They are hand-signed, hand dated, and wrapped in an acid-free sheeting for safe transport and storage.

Galleries, Gifters, and Resellers can now order this print in bulk. The price will show up in your shopping cart (upper right) the moment you hit “add to cart”.

These 25 limited edition giclees, are from the first painting in the strange-fiction steampunk art series Airships and Tentacles wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle.

The original painting was commissioned for Robert of Abney Park, and it includes the airship: HMS Ophelia as well as a Jules Vernian submarine, some Lovecraftian influences.

Having sold out of all of the full size metallics (20 released), and now all of the giclees on canvas (50 released), I am finally able to release this – the very last of the limited edition prints of this work (25 available). There will be no more full sized, hand-signed printings of this work, numbered or otherwise.

These giclees are printed in archival pigment inks on high-quality high density high white-point fine art paper, for an archival rating of about 100+ years. These are hand-signed and dated, numbered from 1-25.

The first 5 sold will also have hand embellishments, i.e added painted elements, painted in acrylic paint to make each piece incredibly unique and one of a kind.

Print size is 28×19 inches, with a white border to bring them up to the standard frame size of 30×24.

The HMS Ophelia is a trademark of Abney Park.

This is the same size as the original, printed as a giclee for the truest color and detail available, and with a 200 year archival rating.

Each of these 20 giclees is printed in quality archival inks on heavyweight fine art rag paper – and is signed,numbered, and dated by Myke Amend.

The original was painted on a 12 x 24-inch birch panel in acrylic paints. Even the images below can’t possibly give you a good look at all the detail in this piece… but that is the story with most of my works.

Giclees are of course the closest to the original available (and in many cases indistinguishable from the originals. Since I tend to paint on very smoothly sanded board, and hide all texture/brushstrokes in my paintings… often times, the giclees look *more* real than the original does.

24 inches by 36 inches in acrylic on canvas, painted on front and sides.

** Ships Rolled outside the US, stretched and Mounted Inside the US**

This is the fifth painting in the strange-fiction steampunk art series “Airships and Tentacles” wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle.

This one leans a lot more toward my old surreal style, with some elements of older paintings hidden within the sands, such as a sand-storm buried nautilus, and strange shells woven into the stone. The somewhat serene piece is offset and accented by a very active lightning field in the distant background – cages on chains float like balloons on the horizon, a strange sphynx guards the pass, and shadows become starry skies. There are many more hidden details within this piece, and I only outlined the more obvious ones – as with all my paintings, this is an image you can revisit many times of many days to find new and equally strange things within.

These 50 giclees are printed full size in Epson Ultra Chrome k3 archival inks on high-quality heavyweight canvas, coated with a UV resistant protective varnish, with an archival-rating at about 200+ years. They are hand-signed, and gallery-wrapped. They are documented with a signed and hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

*Reduced until 4-29-2012* (road funds for the Steampunk Symposium trip)

Over 30 works of art, on good paper, and in good inks for ease of coloring – printed at a huge 8.5.x11 inches (17 inches wide when open).  For a coloring book, these things are pretty huge.

I realized when I received these that this book, if not colored in, is pretty much a way to get 30 hang-able prints for under $15, but I am still making it available as a regular item in my store.

This is pretty much 75% of the black and white works for the airships and tentacles book, and a good trial run at that piece. In addition to over 30 images to color with colored pencil, I have little bits written about each artwork: My process in some cases, usage in others, just little strange fiction bits in other places – making it something to read as well as view.

For those who would like to give this book to a younger person, I made it so that the middle page could be removed, thus removing the two images that depict uncovered breasts.

You can view a web resolution PDF of the entire book here: CLICK HERE for PDF

Limited edition of 20. Signed, numbered, and dated by me.

From the original 5×7 work Engraved on Ampersand Art Clayboard (archival tempered hardboard layered in white clay and india ink).

These engravings are made incredibly rich in detail, and imaged at 600DPI, so that they convert well to larger prints.

The larger pieces are actually what I have in mind when making the small originals, which are an exercise in compactness and micro-fine lining.

The originals are something else to see, but these larger prints are the best representation of the work that printed form can offer.

Painted on a 12 x 24-inch birch panel in acrylic paints. Even the images below can’t possibly give you a good look at all the detail in this piece… but that is the story with most of my works.

I decided that I break far away from my typical American Art Movement or Luminist style, and delve into something more Art Nouveau or cartoony (I chose somewhere between ‘both’). I didn’t sacrifice detail, yet I still find the deviation from realism rather pleasant and fun. More pieces like this one may follow.

These 15 limited edition prints are printed as giclees (prints in archival pigment inks), for truest color and crispness on thick and heavyweight archival fine art rag paper – with an estimated archival rating of 200 years.

They each are signed by me (Myke Amend), numbered, and dated. The prints themselves do *not* have the Mykeamend.com watermark (seen lower right in full view).

John Strangeway, aka Steampunk Boba Fett hired me to create a more Victorian/Edwardian era craft for him in a painted portrait. This is the result.
The original is 32×24 inches, painted in acrylic on canvas.

This giclee print is the same size as the original which was drawn on acid-free 11×14 inch bristol board in graphite pencil, with an additional 1-inch border all-around to make for easy mounting and to display the beauty of the paper

Printed as a giclee for the truest match in color and detail to the original as possible. They are printed on acid-free heavyweight fine art paper in archival pigment inks for an archival life of 180+ years.

It depicts a strange hut crashing out of the forest and into a sleeping village. Owls circle, tentacles flail and grab, huge metallic legs crush trees and rip the earth below.

15 of these will be printed. Each is hand-signed, numbered, and dated in pencil unobtrusively just within the margin.

I will draw on a sepia-tinted sheet of 11×14″ bristol board in black graphite and white charcoal.

I will make them pretty – because I really cannot bear to let anything go if I do not feel it is worth showing. This means I tend to put way more time than paid for into any work I do for anyone because I am just that picky.

I would prefer that these works be steampunk themed, Lovecraftian influenced, alchemical, metaphysical, otherwise spooky and or pulp, I can go for camp as well … especially if it involves tentacles.

I will customize… somewhat. Tell me (in the payment details on the paypal/payment side) something about you or things you like. Don’t make it *too* hard on me, I can do most anything, but when there are *too* many specifics, it is no longer art an I become your doodle monkey extension, which isn’t what I am going for here.

Depending on whether you are the first, or the fifth, that drawing will come to you sooner or later. I’d say allow a month.

** Only a few of these left **

**Ships Rolled outside of the US. Stretched and Mounted inside the US***

This is the first painting in the strange-fiction steampunk art series “Airships and Tentacles” wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle.

The original painting was commissioned for Robert of Abney Park, and it includes the airship: HMS Ophelia as well as a Jules Vernian submarine, some Lovecraftian influences.

These 50 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m2 gloss canvas. They are uv-sealed for a longevity of about 200+ years, hand-signed, and gallery-wrapped. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

The HMS Ophelia is a trademark of Abney Park, as conceived and designed by Eliza Gauger. Abney Park is a Trademark of the Band Abney Park.

This one was done while in California, and named for two specialty drinks at Tiki Ti’s in North Hollywood.
Printed area is 6.5 by 9 inches, with a border of 1 inches all around (print size is roughly 8.5 by 11). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
20 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the earliest of them all.

The original work is 14×11, painted in acrylic, on acid-free Bristol board, and the prints are identical in size, plus an extra 1 inch of border for easy matting and framing.

All are printed on archival fine-art rag paper with a watercolor surface to be as true to the original in color, look, detail, and feel, as a print can possibly be. For now, or rather the first 10 of these prints, I’ll be hand-signing these in pencil narrowly within the margin.

This work was inspired by the collaborative mural done by Bethalynne Bajema and myself at Destination 1111; I have painted bits of her beautiful mountain city within the landscape for this piece. I also returned to my old two-color painting for this one, mixing brown and blue for a cozy and tranquil muted and misty scene.

The original work is 14×11, painted in acrylic, on acid-free Bristol board, and the prints are identical in size, plus an extra 1 inch of border for easy matting and framing.

All are printed on archival fine-art rag paper with a watercolor surface to be as true to the original in color, look, detail, and feel, as a print can possibly be. For now, or rather the first 10 of these prints, I’ll be hand-signing these in pencil narrowly within the margin.

From the cutting room floor.

A doodle I did in the process of designing a magazine cover for Gatehouse Gazette, before changing the approach entirely.

Painted in oil on tempered hardboard. This was my second oil painting.

Everything else about the piece, I am going to leave to the imagination.

I just finally had this piece professionally imaged, but it was painted in 2005. Finally, this piece is available as a limited edition giclee on Fine Art Rag Paper – only 20 of these will be made. They are printed in archival inks on acid-free art paper, with an archival rating of 200+ years.

Prints are 24×24 inches.

All prints are signed, dated, and numbered by the artist (subtly) on the frontin pencil.

One of my older works, which I only finally got imaged in October of 2010 because of a good number of requests that I do so. It was first shown publicly in September of 2010.

A fairly emotional piece, painted during a time when leaving a life and people behind, in search of myself, seemed like the best way to pull through.

I can’t say any one piece I have done has but one feeling, event, or idea attached to it – a piece tends to gather thoughts and concepts like a snowball on an incline. This piece is no different there: Somewhere in the completion of this piece, the chalk outlines seemed like the perfect finish, inspired by a scene from Eric Adams‘ Lackluster World (Eric is a long time friend of mine from my hometown of Cincy), so I expanded on that thought a little through the completion of the piece.

These giclees are printed on fine art canvas in archival pigment inks and coated in a special uv-protective coating. They are limited to only 20 made. They are full-sized (16×20), hand-signed and numbered in paint (subtly) on the front, hand-signed, numbered, and dated on the back.

**Overseas orders are shipped rolled, not stretched and mounted, in order to keep the price down.

From a commissioned piece, wherein I was asked to do something super-colorful, detailed, and small.

Rather than leaning towards abstract, I went the more impressionistic route; In order to get my usual amount of detail into such a tiny package, I took to painstakingly paining ropes and sail-stitches with a single hair, details so tiny they cannot be seen in a web-resolution image.

Ghostly vampire squid, jellyfish, and other deep-sea denizens swim through the air, fading away into the distant stars.

These are printed on 200 year archival fine art rag paper in archival pigment inks, at the same size as the original (8×10 inches) and hand-signed and dated by Myke Amend.

Border size is approximately 1/2 inch. Not being a set edition, I lean toward 8.5×11 inch for easy framing.